Microcrystalline silicon thin film transistors obtained by Hot-Wire CVD

Polysilicon thin film transistors (TFT) are of great interest in the field of large area microelectronics, especially because of their application as active elements in flat panel displays. Different deposition techniques are in tough competition with the objective to obtain device-quality polysilicon thin films at low temperature. In this paper we present the preliminary results obtained with the fabrication of TFT deposited by hot-wire chemical vapor deposition (HWCVD). Some results concerned with the structural characterization of the material and electrical performance of the device are presented.

Thin Film Transistors obtained by Hot-Wire CVD

Hydrogenated microcrystalline silicon films obtained at low temperature (150-280°C) by hot wire chemical vapour deposition at two different process pressures were measured by Raman spectroscopy, X-ray diffraction (XRD) spectroscopy and photothermal deflection spectroscopy (PDS). A crystalline fraction >90% with a subgap optical absortion 10 cm -1 at 0.8 eV were obtained in films deposited at growth rates >0.8 nm/s. These films were incorporated in n-channel thin film transistors and their electrical properties were measured. The saturation mobility was 0.72 ± 0.05 cm 2/ V s and the threshold voltage around 0.2 eV. The dependence of their conductance activation energies on gate voltages were related to the properties of the material.

Aesthetic Breast Augmentation Mastopexy Followed by Post-surgical Pyoderma Gangrenosum (PSPG): Clinic, Treatment, and Review of the Literature.

INTRODUCTION: Pyoderma gangrenosum (PG) is a rare autoinflammatory neutrophilic ulcerative skin disease, often developing after a trauma or surgical wounds. In the literature there are several reports of post-surgical PG (PSPG) of the breast. The authors of this article experienced an impressive case of PSPG after an aesthetic breast augmentation mastopexy. PSPG is a rare but severe complication in this elective aesthetic surgical procedure. METHOD: A systematic review of the literature was performed, focusing on PSPG after aesthetic breast surgery (augmentation mammoplasty/mastopexy). The online databases Pubmed, Medline, and Cochrane were used and additionally a Google© search was conducted. We compared the data obtained from a systematic literature review to an index case of PSPG after esthetic augmentation mammoplasty. RESULTS: The literature search identified seven articles describing eight cases of PSPG after aesthetic breast surgery. In four of these cases augmentation mammoplasty had been carried out, in two cases mastopexy and in two cases augmentation mammoplasty and mastopexy (augmentation mastopexy). The patient we treated and describe in this paper underwent an augmentation mastopexy outside our clinic. Eight patients suffered from local disease, at the site of surgical wounds, one patient had disseminated disease. Leukocytosis was present in five cases (out of nine). Eight patients had received corticosteroid treatment, one patient refused such treatment. The duration of corticosteroid treatment was on average for 41 days (range 21-60 days). In all cases, the areola had been spared. Complete healing of PSPG was observed on average after 5 months (range 1.5 months-1 year). DISCUSSION: PSPG of the breast after aesthetic breast surgery is rare, but every plastic surgeon should consider this possibility, especially if skin disease develops post-surgery, mimicking wound infection that does not respond to broad-spectrum antibiotic treatment. CONCLUSION: Although the literature does not recommend this step, implant removal is recommended by the authors because bacterial wound infection normally cannot be ruled out definitely in the early stages of disease. Additional surgical intervention should be limited to the absolute necessary and performed only under adequate systemic immunosuppressive therapy. LEVEL OF EVIDENCE V: This journal requires that authors assign a level of evidence to each article. For a full description of these Evidence-Based Medicine ratings, please refer to the Table of Contents or the online Instructions to Authors www.springer.com/00266 .

Kvinnor och messiasgestalter i science fiction-film

Recension

Hollywood Films in the Non-Western World: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

This dissertation argues that the Government of the People’s Republic of China, when it made the decision to import a quota of Hollywood films in 1994 to revive the failing domestic film industry, had different possible criteria in mind. This project has studied four of them: first, importing films that gave a negative image of the United States; second, importing films that featured Chinese talent or themes; third, importing films that were box office hits in the United States; and fourth, importing films with a strong technological innovation ingredient. In order to find out the most important criteria for the Chinese Government, this dissertation offers a dataset that analyzes a population of 262 Hollywood films released in the PRC between 1994 and 2010. For each unit, a method has been developed to compile data that will determine whether the film reflects any of the four criteria, and findings in the form of yearly percentages have been drawn. Results show that, out of the four studied criteria, the two predominant reasons for China to import films were technological innovation and box office hits. This tells us that, at this point, the Chinese Government shows more interest in obtaining big revenues and learning from technically innovative American films than in delivering underlying political messages. This dissertation contributes to the existing literature by analyzing the content of all the films imported by China between 1994 and 2010, while integrating in the analysis variables based on the existing knowledge.

The Transnational Zombie: Postcolonial Memory and Rage in the Recent European Horror Film

An ever increasing number of films, books, and scholarly works dealing with the undead have appeared in the last decade, making the zombie the very incarnation of American popular culture on a global scale. In this chapter I show that the zombie is also a surprisingly complex sign for transnational movement and multidirectional cultural flow. While the zombie may appear as the very epitome of American cultural production and influence, a mindless movie monster born of a vapid stream of Hollywood B-horror, the zombie has a rich transnational history and an eloquent figurative resonance that have fed into its current ubiquity as cultural sign. This chapter reviews that history and then examines some of the ways that the zombie figure has traveled between the Caribbean, where it emerged, the United States, where it was translated into a film device of startling pathos and horror, and Europe, to which it owes some of its most interesting recent innovations.

Aesthetic breast augmentation with hyaluronic acid: imaging findings and implications for radiological assessment

New injectable fillers such as hyaluronic acid have recently been employed as a non-surgical alternative to implants such as silicone for aesthetic breast enhancement. Although their utilization is not yet widespread in Brazil, radiologists should be aware of the imaging findings in this context and of the implications of the presence of this filler for the radiological evaluation in the screening for breast cancer.

La controverse avant le film : quelle politique pour Good Night, And Good Luck ?

This article aims to explain how newspapers commented on the movie Good Night, and Good Luck before its release. The media coverage anticipated George Clooney's film as a partisan attack launched against George W. Bush's policy since 9/11. Clooney advocates another reading: the historic confrontation between journalist Edward Murrow and Senator Joseph McCarty permits to reflect on the crucial role that the media play for democracy. Such reflection tries to prevent the dividing of the public sphere into antagonistic camps opposing "friends" to "foes," a division that undermines the possibility of a true pluralism. Our socio-semiotic analysis will focus on the critical work accomplished by the media, and on the way that work determines the collective meaning of a cultural object. Simultaneously, we will discuss the necessary conditions for pluralism in a public sphere.

L'origine picturale du cinéma : le tableau vivant, une esthétique du film des premiers temps

Le cinéma des premiers temps, c'est-à-dire la production des deux premières décennies du cinéma, majoritairement caractérisée par des plans autonomes, des histoires courtes et un cadre fixe, n'a essentiellement connu d'études esthétiques que sous un angle narratologique, centrées notamment sur les prémisses du montage. Cette thèse déplace le regard - ou plus simplement le convoque -, en proposant de faire sa place à l'image. Car à qui sait les regarder, les premiers films dévoilent une parenté picturale jusqu'alors ignorée. Les images du cinéma des premiers temps - alors significativement appelées « tableaux » - se sont en effet définies à l'aune de la peinture, et même plus précisément par une imitation littérale des oeuvres d'art. Cette étude révèle que le tableau vivant, défini dans les termes stricts de la reconstitution d'une composition picturale par des acteurs vivants (que ceux-ci tiennent la pose ou non), est au fondement d'une esthétique du film des premiers temps. L'argument est structuré par les illustrations que l'auteure exhume (et compare, à la manière d'un spectaculaire et vivant jeu des 7 différences) parmi cette production filmique majoritairement disparue, brûlée, effacée, et ces références picturales aujourd'hui perdues, dénigrées, oubliées... Néanmoins ce ne sont pas quelques exemples isolés, mais un vrai phénomène historique qui est mis au jours à travers un corpus de films traversant tous les genres du cinéma des premiers temps, et prouvant que les productions du Film d'Art et des séries d'art ou le film Corner in Wheat (D.W. Griffith, 1909), souvent tenus comme un commencement, consistent bien plus en un aboutissement de cette tradition qui consiste à créer des images filmiques sous forme de tableaux vivants. Traçant d'abord ses « contexte et contours », le texte montre que la reconstitution picturale hante toutes les formes de spectacle à l'heure de l'émergence du cinéma. Les scènes de l'époque cultivent internationalement une esthétique de tableau vivant. Et la scène n'a pas l'exclusivité du phénomène : le médium photographique, dès son apparition, s'approprie le procédé, pour (chose jusqu'alors impossible) documenter l'effet visuel de ces reconstitutions, mais aussi pour les réinventer, en particulier pour se légitimer en tant que moyen artistique capable de rivaliser avec la peinture. Le cinéma émergent procède à une appropriation similaire du tableau vivant, qui fait le coeur de ce travail en y étant analysée selon quatre axes théoriques : Reproduire - où l'on découvre le caractère fondamentalement indirect de la filiation picturale de ces tableaux vivants, pris dans une dynamique de reproduction intermédiale qui en fait de véritables exercices de style, par lesquels les producteurs expérimentent et prennent conscience des moyens .artistiques de l'image filmique - ; Réincarner - où l'on étudie les problématiques engagées par la « mise en vie », et plus précisément la « mise en corps » des figures picturales (en particulier de Jésus et du nu), impliquant des enjeux de censure et un questionnement du regard sur l'art, sur le corps, et sur le statut de ces images qui semblent plus originales que l'original - ; Réanimer - où l'on examine la manière dont le cinéma mouvemente la peinture, en remettant la composition en action, en en redéployant l'instant prégnant, en expérimentant la pose gestuelle, l'arrêt du photogramme et tout le spectre de la temporalité cinématographique - ; enfin Recadrer - où l'on analyse le cadrage de ces tableaux repensés à l'aune de la caméra et de l'écran, qui nécessitent de complexifier les catégories théoriques baziniennes, et qui font émerger le tableau vivant comme un lieu de cristallisation d'une image filmique tabu/aire, offrant une résistance au montage linéaire. Or cette résistance se vérifiera jusque dans les films très contemporains, qui, en réactualisant le motif du tableau vivant, briseront la linéarité narrative du montage et feront rejaillir le poids artistique de l'image - ravivant en cela une esthétique fondatrice du cinéma.

Determination of compression behaviour of coating layer

The strength properties of paper coating layer are very important in converting and printing operations. Too great or low strength of the coating can affect several problems in printing. One of the problems caused by the strength of coating is the cracking at the fold. After printing the paper is folded to final form and the pages are stapled together. In folding the paper coating can crack causing aesthetic damage over printed image or in the worst case the centre sheet can fall off in stapling. When folding the paper other side undergoes tensile stresses and the other side compressive stresses. If the difference between these stresses is too high, the coating can crack on the folding. To better predict and prevent cracking at the fold it is good to know the strength properties of coating layer. It has measured earlier the tensile strength of coating layer but not the compressive strength. In this study it was tried to find some way to measure the compressive strength of the coating layer and investigate how different coatings behave in compression. It was used the short span crush test, which is used to measure the in-plane compressive strength of paperboards, to measure the compressive strength of the coating layer. In this method the free span of the specimen is very small which prevent buckling. It was measured the compressive strength of free coating films as well as coated paper. It was also measured the tensile strength and the Bendtsen air permeance of the coating film. The results showed that the shape of pigment has a great effect to the strength of coating. Platy pigment gave much better strength than round or needle-like pigment. On the other hand calcined kaolin, which is also platy but the particles are aggregated, decreased the strength substantially. The difference in the strength can be explained with packing of the particles which is affecting to the porosity and thus to the strength. The platy kaolin packs up much better than others and creates less porous structure. The results also showed that the binder properties have a great effect to the compressive strength of coating layer. The amount of latex and the glass transition temperature, Tg, affect to the strength. As the amount of latex is increasing, the strength of coating is increasing also. Larger amount of latex is binding the pigment particles better together and decreasing the porosity. Compressive strength was increasing when the Tg was increasing because the hard latex gives a stiffer and less elastic film than soft latex.

Pathétique Sonata : a study of musical aspects in subjection of aesthetic aims

This study makes an attempt to capture some of the aesthetic ideas prospering in the latter half of the eighteenth century and investigates in what way these are possibly being manifested in different musical aspects in Beethoven's early work, and most specifically in his eight sonata, often referred to as the Pathétique sonata. Beginning the first chapter with an introduction to aesthetic notions in Beethoven's age, the second chapter is mostly concerned with anecdotes regarding the Pathétique sonata. Further the third chapter exhibits possible influences between Cherubini, Beethoven and Wagner, and the last three chapters treat different musical and aesthetic aspects like Beethoven's relation to the C minor tonality, the German Sturm und Drang movement, and finally some parallels that can be found between literature and music.

Reliable entertainment: Spanish consumers' preferences regarding a film's country of origin

This article contributes to the study of cinema audiences in Europe by analyzing theactual behavior of Spanish moviegoers and their level of satisfaction. We modeledmoviegoers’ choice of film by country of origin (U.S.A., Spain, and other countries)according to a set of determinants: (1) consumers’ interpretation of several sources of information, (2) motivations and (3) choice rules. We found three clear consumerstereotypes related to each type of film: (1) U.S.A. films were preferred by almost everyone (especially families and younger audiences); (2) Spanish films had audiences composed of middle-age and middle-class moviegoers; and (3) European productions were preferred by a social or intellectual elite. U.S.A. films dominate the Spanish market for the reason that they provide most of what moviegoers prefer, namely, familiar, reliable entertainment in Spanish; three characteristics that are not satisfied by Spanish and European films. Additionally, we discuss the implications for the European cultural policy